1. Field of the Invention
The present invention relates generally to optical devices and, more particularly, to an apparatus for creating and displaying an anamorphic illusion.
2. Description of the Related Art
For several centuries, artists have been utilizing techniques involving the manipulation of perspective views to create surprising and pleasing illusions. Famous artists such as da Vinci and Holbein used a curious and fascinating effect that we now know as "anamorphic" (from the Greek ana (again), and morphe (shape)). This effect presents the viewer with a totally unrecognizable representation of reality, which can only be restored to its true recognizable form when the image is viewed from an oblique angle, or if it is reflected in a cylinder, cone, or prism.
The idea of central perspective not only rationalizes the relationship between objects within a picture, but also establishes a relationship between the viewer and the represented images. Anamorphoses are an extreme example of this phenomena. The viewer is first deceived by the appearance of a barely recognizable or distorted image, and is then directed to a view-point dictated by the formal construction of the viewed rendering. The origin of the word, as noted above, indicates that the viewer must play a part and re-form the picture himself.
The kinds of anamorphoses that require a reflecting cone or cylinder for correct viewing have an entirely different origin from perspective anamorphic representations.
These types of anamorphoses (those requiring a reflecting cone or cylinder), which were introduced to Europe in about the 17th century, were popularized by Niceron, who made practical use of the discovery. It was in France that illustrated descriptions of the methods of producing such anamorphic representations were published for the first time. It was not long before this type of anamorphic representation eclipsed the perspective anamorphosis. The dimensions were more manageable, viewing was easier, and the element of surprise was much greater. Particularly in the case of cone anamorphosis, the subject could be completely concealed. A variant of these types was the anamorphosis for the reflecting pyramid.
In a typical reflecting cone or cylinder anamorphic illusion, a painting or other type of rendering is presented to the viewer, with the represented image distorted so as to be unrecognizable. A reflecting cone or cylinder is placed on a predetermined point on and perpendicular to the painting or rendering. The viewer, by moving to a particular location, can view the recognizable (undistorted) image in the cylinder or cone.
An informative text on the subject is Anamorphoses, Games of Perception and Illusion in Art by Michael Schuyt and Joost Elffsers, published by Harry N. Abrahams, Inc., 1976, Library of Congress Card No. 76-25735. This text describes the various types of anamorphoses already referred to and explains techniques by which the unrecognizable anamorphic depiction of the subject matter is related to geometrical shapes constituting volumes of revolution, such as cones and cylinders, such that the reflected image of the anamorphic depiction is reformed into recognizable subject matter for the viewer. In this application, the term "anamorphic depiction" will be used to indicate the unrecognizable depiction of the subject matter which is placed in appropriate position to the relecting surface to provide a reflected image which returns the subject matter to a configuration recognizable to the viewer. In using the terms "recognizable" and "unrecognizable" we mean, for example, representational subject matter such as a representational painting of a scene which in its anamorphic form is so distorted that is loses its ability to be recognized by the viewer but is returned to its apparent original form in its image appearing in the reflecting surface. Of course, an anamorphic illusion is not confined to representational art but may be appliced to geometric forms, familiar patterns, numbers, letters and so on.
Although effective for their intended purpose of amusement, structures for achieving an anamorphic illusion were best suited to the salon or museum. For example, in the referred to text by Schuyt and Elffers at illustrations 67, there is shown a vertical reflecting cylinder extending upwardly from a horizontal painting which bears an anamorphic illustration, distorted beyond ordinary recognition, of the crucifixion. The reflection of the anamorphic depiction of the crucifixion in the vertical cylinder is, however, reformed to a fully recognizable, representational image of the crucifixion scene. Such a structure, however, has limitations which would not suit it for a theme park attraction for which the present invention is intended. In particular, the thus described anamorphic display apparatus does not have the capability for relative motion between different objects in the scene. For theme park use, relative motion in a picture attracts the eye and makes the illusion more convincing and interesting to the viewer; for example, hot air balloons drifting in motion over a city are more attention getting and interesting to a theme park viewer than a static view of the same scene.
Another problem is that a museum type display is not particularly well suited for applications where lighting conditions reduce the intensity of the reflected image to such a low threshold that it lacks the vividness and excitement to attract theme park viewers to the attraction. The same could be said for applications where lighting levels, either because of facility limitations or for show effect, are quite low.
Another problem is that, in a theme park environment, it is important to have a structure on which viewers may stand to view in the correct horizontal and vertical location necessary to most satisfyingly obtain the intended anamorphic illusion and the attraction and which prevents them from coming so close that they may damage it.
Another problem is that known configurations must be viewed from one particular location in order to see the recognizable image or information. In a theme park application, for example, where a large number of guests must pass through a restricted area in a short period of time, the requirement of the guests to be located at one optimum point to view the illusion could create traffic bottlenecks, potential safety hazards and general incovenience as guests attempt to view the recognizable image.
From the foregoing description, it should be apparent that there is a need for an apparatus for displaying an anamorphic illusion that is eye-catching, provides adequate lighting for any environment, and could provide optimum viewability from any point around the apparatus. The present invention satisfies this need and provides further related advantages.